With regard to the concerto, take that form for the violin only. To go no further back than the works of the great Leipzig Cantor, Johann Sebastian Bach, we find his two concertos, in A minor, and E major, are scored only for strings, though the "continuo" implies the harpsichord. The concerto in D minor for two violins is scored in the same manner; and in all there is evidence that the soloist took part in the _tutti_ sections. Then there is the Symphony movement, from an unknown church cantata, for violin concertante, with accompaniment of two oboes, three trumpets, drums, two violins, viola and continuo. In all these the basic principle is the contrasting of the _tutti_ and _solo_ sections, which sustain a kind of dialogue. Much the same form is observed in Mozart's violin concertos, which, with one exception, are scored for oboes, horns and strings. The exception is the sixth, in E flat, which is scored for one flute, two oboes, bassoons, and horns. In this the form approaches that of the sonata, though the _tutti_ and _solo_ contrasts still remain, and evidently the soloist played in the _tutti_ sections. To Viotti, born in 1753, three years before Mozart, must be assigned the honour of giving the violin concerto its fullest classical form. His orchestral background was rich in colour, he having adopted the complete Haydn Combination; and his solo parts were of prime importance. Beethoven's concerto (1806), and Mendelssohn's (finished in 1844), employ the same orchestra. Beethoven links the slow movement to the Finale, and Mendelssohn connects the whole. The latest concerto form is in part a reversion to the earliest type. The solo part is but a more elaborate line in the orchestral column, and the soloist is scarcely distinguishable from his orchestral colleagues.